The first thing John Hamburg’s “I Love You, Man” teaches us is that the mean time between the Style section of the New York Times heralding a fake trend and the creation of a Hollywood comedy predicated on that fake trend is about four years. It was in April of 2005 that the Times published…
After a couple of months that for all intents and purposes defined “moribund,” actual moviegoing, at least in the major cities, is getting interesting again, with several masterworks or near-masterworks creeping into theaters. Jan Troell’s scrupulous, beautiful “Everlasting Moments,” Olivier Assayas’ genuinely Renoir-esque “Summer Hours” and Philippe Garrel’s blunt, idiosyncratic “Frontier of Dawn” are all…
Somewhere between the 40- and 60-minute marks of Nikita Mikhalkov’s “12,” a sparrow flies through a window into the school gymnasium that’s serving as an ad hoc jury room for a supposedly routine Moscow homicide case. This is unusual for one or two reasons, the most obvious of which is that it’s the dead of…
